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Butch Cassidy and the Sundance Kid

June 22nd 2006 13:57
This is a piece of cinema history. Often imitated, but seldom matched, this film has barely dated despite being over 30 years old. It's easy to understand why Robert Redford became a star after this, and Paul Newman's charisma has been seldom matched by any other actor since.

Butch Cassidy and the Sundance Kid
Butch Cassidy and the Sundance Kid (1969)



Partially based on real-life turn-of-the-century outlaw Butch Cassidy, the film follows his exploits (alongside his trusty sidekick, the Sundance Kid) from the U.S. to South America. Butch and Sundance, along with the Hole in the Wall gang, are train robbers. However, the rail company decides that it's had enough and sends the country's toughest lawman after them. As it transpires that there will inevitably be no escape for the pair whilst they remain in America they decide to make off to Bolivia, to start anew in another land of opportunity.

It's somewhat ironic that a film about nostalgia and changing times should hold up so well in years gone by, what with the phrase 'nostalgia aint what it used to be' and all that. Butch and Sundance are the last of a dying breed - happy-go-lucky opportunists who live on their wits and not much else, and who find themselves riding the disappearing edge of a bygone era. The film is a loving recreation of the late 19th century old west, a time on the cusp of encroaching industrialism, where horses were exchanged for bicycles, and the outlaws of the old west were finally stamped out for good. At the heart of the film is an entertaining and original script… sharp, witty and tragic in equal spades; a formula that has oft-been emulated by others since - but never to the same degree of success.


Paul Newman and Robert Redford strike up one of the most memorable rapports in film, creating thoroughly likeable characters. The dialogue is beautifully sarcastic and dry, and the direction is a wistful mix of the sidesplitting and poignant, lending the picture a kind of magic that often proves elusive in Hollywood.

HIGHLIGHTS: Butch and Sundance turn 'straight' - and find they have to use their guns for the first time. The final sequence in the film is also particularly memorable.

TRIVIA: Butch Cassidy's real-life sister served as an advisor of sorts on the film. Redford and Newman later teamed up again for 'The Sting'. Steve McQueen was to originally play the Sundance Kid, and introduced Paul Newman to the project.

The film won 4 Academy Awards - Best Song ('Raindrops Keep Falling on My Head'), Best Screenplay/Story, Best Score and Best Cinematography. It was also nominated for Best Picture, Best Director (George Roy Hill) and Best Sound.

Followed by a prequel, ‘Butch and Sundance: The Early Years’. No one saw it.
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Pale Rider

June 17th 2006 07:03
Pale Rider
Pale Rider (1985)
Hailed at the time as Eastwood's big Western comeback (and the genre's comeback too), 'Pale Rider' (1985) promises a lot but may not seem up to the cut twenty years down the line. The 'Western', as viable genre, died out with John Wayne, and has made occasional reappearances since, from the brilliant and revisionist 'Unforgiven', to pap like 'Posse' and 'The Quick and the Dead'.

'Pale Rider' is by no means a bad movie, and should never be mentioned in the same sentence as the aforementioned two films (hence the new paragraph). As far as it goes, it follows a fairly traditional line - a nameless 'preacher' (Eastwood) lends his services to some poor put-upon prospectors, facing down the local oppressive mining company and the corrupt Marshall they call in. There aren't any surprises to be had here, and Eastwood's direction maintains the film's dedication to its genre.

Unfortunately, it isn't really anything new or special. 'Pale Rider's strength laid in Eastwood's return to the Western (his first in 9 years), and must've seemed a breath of fresh air in 1985. But a few years down the line that doesn't really mean much. Eastwood's character is yet another nameless stranger, the nature of which is hinted at but never really explained - and it plays more like a homage to his past roles than anything else. Indeed, very little development is given to this character and the relationship he strikes up with the prospectors (the females in particular). The film relies all too much on Eastwood being an easily-recognised icon and is therefore bereft of explanations regarding the connections the 'preacher' makes with others. I could've done without the whole love interest sub plot, it seemed a little superfluous to me. I guess Eastwood was only just developing his ideas regarding the examination of his own myth… you can see some acorns here of what would become ‘The Unforgiven’ but Eastwood is still deep in journeyman mode.

Basically, the film wanted to be a traditional western, but relied too much on it's lack of peers and therefore seemed to feel as if it didn't need to try too hard to impress it's 1985 audience. And this is what makes films in general seem dated. Ironically, the earlier truer Westerns will stand the test of time a lot better than 'Pale Rider' because they had competition and had to have some substance as a result. Sure, this film has it's moments, but most of these can be found elsewhere, in other places and other times, and it's comments on corruption at the time were hardly new to the genre. Watch it if only to see an '80s Western', cause there are very few of them.

Eastwood
The Man and Myth cometh


HIGHLIGHTS: The few tidbits of info we are given regarding the 'pale rider' of the title. We see bullet wounds riddled across his back, and one man claims that Eastwood "died long ago". Great stuff, but under-utilised.
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Fort Apache - A Classic Western

June 6th 2006 09:18
Wayne and Fonda
Two great icons of American cinema come head to head.
'Fort Apache' (1948) is a Western classic directed by the grand old man of American cinema, John Ford. The film paired two giants of screen history - John Wayne and Henry Fonda, and (not surprisingly) focuses on the battle of wills that erupts between them. I think 'Fort Apache' is one of the more memorable of Wayne's films because it's one of the select few that have him going head to head with another actor worthy of his attention.

The film examines the waste of life that can occur under the watch of unsuitable men and the way history is re-written in their wake. John Wayne's cavalry captain is reliquished of command by a strict and bitter senior officer, played by Henry Fonda. The film follows the life of the post-civil war cavalry and the tensions that begin to erupt under the new commander, a man out to make a name for himself no matter the cost. Wayne does what he does best as the hero of the piece, a man sympathetic to the native americans that Fonda selfishly tricks into returning to American soil. Despite it's age the film stands up very well some 65 years down the line, many of the troops in the cavalry are Irish and their incessant alcoholism made me laugh out loud on several occasions.

It's an immensely entertaining film that features a somewhat episodic look at life in the cavalry, and is probably most entertainingly propelled by Victor McLaglen’s alcohol-obsessed Irishman – like I said before, it's a facet of the film that ensures it doesn’t feel too outdated today, seeming as drunks are still ripe for comedic exploitation in cinema and television even today (eg. “Arthur”, “Men Behaving Badly”). The plot/historical details seem almost like deus ex machina in regards to these parts of the film – seeming as the action explicitly comes into play only in the film’s last third – the preceding screen time devoted to this life in the cavalry and the friction between Fonda and Wayne.

Wayne would play this character again in Ford’s third and final cavalry film, “Rio Grande”, although he is written and played very much at odds with what we are shown here in ‘Fort Apache’. Suffice to say, I feel this is a much superior film to 'Rio Grande', mostly due to Fonda's presence and his tempering of Wayne's gigantic screen presence.

Fort Apache
Fort Apache

This is easily worth checking out if you are even vaguely interested in Western films or screen history in general. It also features a grown up Shirley Temple.

TRIVIA: Victor McLaglen won the Best Actor Oscar back in 1935 for John Ford's film 'The Informer'. As he got older, and his leading man status fell away from him, he became a valuable supporting player in Ford's films - garnering an Oscar nomination for Supporting Actor in Ford's 1950 film 'The Quiet Man' (also starring John Wayne).

The film is loosely based on Custer's Last Stand and the cover-up that followed it.

The fort featured here was specially built for this film and remained standing for many years after it, featuring in many other film and television productions.

'Fort Apache' is often included as part of John Ford's informal 'Cavalry trilogy' - followed by 'She Wore a Yellow Ribbon' (1949) and 'Rio Grande' (1950).
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Fistful of Dollars
Fistful of Dollars (DVD cover)
Looked back on as the perfect antidote to the encroaching staleness of American Western cinema, 'A Fistful of Dollars' (1964) is oft-hailed as the premiere Spaghetti Western - Sergio Leone's one-man revitalisation of a dying genre, the first of his three westerns with a then-unknown Clint Eastwood, and the beginnings of what would perhaps become some of the most famous of western trademarks that are still being used today.

By setting the story south of the border, and abandoning the usual cast of cliched characters, Leone managed to invent an entirely new kind of Western - a less romanticised, more realistic representation. Eastwood's nameless character is little more than a mercenary, playing the town's villains off against one another in a machiavellian bid for cash


[ Click here to read more ]
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